Art and Sovereignty in Global Politics by Douglas Howland, Elizabeth Lillehoj, Maximilian Mayer

By Douglas Howland, Elizabeth Lillehoj, Maximilian Mayer

This quantity goals to question, problem, complement, and revise present understandings of the connection among aesthetic and political operations. The authors go beyond disciplinary obstacles and nurture a wide-ranging sensibility approximately paintings and sovereignty, hugely complicated and interwoven dimensions of human event that experience infrequently been explored by way of students in a single conceptual area. numerous chapters reflect on the intertwining of contemporary philosophical currents and modernist creative types, particularly these revealing formal abstraction, stylistic experimentation, self-conscious expression, and resistance to conventional definitions of “Art.” different chapters take care of currents that emerged as features of artwork grew to become more and more commercialized, merging with commercial layout and renowned leisure industries. a few participants handle Post-Modernist paintings and thought, highlighting strength relatives and offering sceptical, serious remark on repercussions of colonialism and notions of common truths rooted in Western beliefs. by means of interfering with proven dichotomies and unsettling solid debates concerning artwork and sovereignty, all individuals body new views at the co-constitution of artistic endeavors and practices of sovereignty.

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What if in the suspension of linear perspective was concealed the awareness of another perspective? What message would be concealed behind this return to the spiritual to the detriment of perspectivism and naturalism? A closer look at Masolino’s panel may perhaps produce a different interpretative path. SPACE AND SOVEREIGNTY: A REVERSE PERSPECTIVE 39 Fig.  Maria ad Nives (144 × 76 cm, 1423/1428), Museo di Capodimonte, Naples (© Photo Scala, Florence—courtesy of the Ministero Beni e Att. Culturali, 2016) The panel (Fig.

It is marked by ethnicity, language, religion, and—not least of all—the sovereign state. The importance of identity underlies states’ motivations to protect idiosyncratic features of their cultures, lauded as special and unique. Accordingly, states frequently establish cultural ministries, providing them with impressive budgets to spotlight and preserve national heritage, with altruism writ large. The history of cinema—one of many art forms that picture disparate spatial imaginaries of belonging—reveals that problems result when states use film to promote a singular national identity.

27 For Vasari it was unthinkable that Masolino could reach the same expressive level of his pupil. This naturalistic–perspectivist ideologeme has been erected, for a long time, as a paradigm of artistic analysis. 29 Perhaps the most obvious example of this perspectival paradigm is the controversial debate around the Colonna Altarpiece. Probably commissioned by Pope Martin V (1368–1431) for the renewal of the Church of Santa Maria Maggiore in Rome, the oeuvre consists of three panels painted on both sides so that they form a double triptych.

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